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The Rise of Digital Reproduction Against Mechanical Reproduction: “Tech-Nostalgia” in Photography

Year 2024, Volume: 10 Issue: 2, 139 - 151, 30.12.2024
https://doi.org/10.46641/medeniyetsanat.1571682

Abstract

As a result of advancements in contemporary digital technology, the production tools utilized in art, alongside new instruments that facilitate daily life, are becoming increasingly diverse and sophisticated. The innovations offered by technology provide a wide range of creative opportunities, particularly for artists. However, since the 1990s, there has been a notable tendency towards a retrospective return and mimicry in both daily life and art. This research primarily focuses on the paradox of returning to the past, despite all technological developments and digitalization, as explored through the medium of photography. In this study, the reasons for looking back and mimicking the past in defiance of contemporary realities and technologies are analyzed within the framework of the concept of “tech-nostalgia.” Concrete examples of “tech-nostalgia” in the realm of photography, such as the Lomography movement and Polaroid productions, have been examined in detail. Despite the high-resolution image quality achieved through current technology and the conveniences of the image production process, the reasons for the observed increase in analog photography have been addressed. The investigation delves into how this increase is shaped within the nature of art and photographic aesthetics, and this trend is attempted to be elucidated through psychological and sociological perspectives with relevant examples.

References

  • Barthes, R. (2000). Camera Lucida: Reflections on Photography. Istanbul: Altikirkbes Yayinlari.
  • Benjamin, W. (2002). Arcades Project. Istanbul: YKY.
  • Buse, P. (2010). The Polaroid Image as Photo-object, Journal of Visual Culture, Vol. 9(2), p.189-207. http://www.sagepub.co.uk/journalspermissions.nav (4th of April 2020).
  • Buse, P. (2010). Polaroid After Digital: Technology, Cultural Form, and the Social Practices of Snapshot Photography, Continuum: Journal of Media and Cultural Studies, Vol.24(2), p.215-30. http://usir.salford.ac.uk/id/eprint/18795/3/Continuum.pdf (4th of April 2020).
  • Campopiano, J. (2014). ‘Memory, Temporality, & Manifestations of Our Tech-Nostalgia, Preservation, Digital Technology & Culture, Vol. 43, No. 3, p.75-85. https://www.degruyter.com/view/journals/pdtc/43/3/article-p75.xml (20th of May 2020).
  • Caoduro, E. (2014). Photo Filter Apps: Understanding Analogue Nostalgia in the New Media Ecology. MeCCSA, Vol.7 (2), p.67-82. http://ojs.meccsa.org.uk/index.php/netknow/article/view/338 (30th of April 2020).
  • Duygun, U. (1998). Fotoğraf Akımları. Unpublished article.
  • Freud, S. (1957). On Narcissism. In The Standard Edition of The Complete Works of Sigmund Freud, Volume 14. Hogarth Press, 67–104.
  • Groys, B. (2017). Akista Internet Caginda Sanat. Istanbul: Koc University Press.
  • Harvey, D. (2006). Postmodernligin Durumu. Istanbul: Metis Yayinlari.
  • Jameson, F. (1985). Postmodernism and Consumer Society. In Postmodern Culture. Hal Foster (der.) içinde. London: Pluto Press. 111-125.
  • Jurgenson, N. (2011). ‘The Faux-Vintage Photo’, Cyborgology, http://thesocietypages.org/cyborgology/2011/05/14/the-faux-vintage-photo-full-essay-parts-i-ii-and-iii/ (30th April 2020).
  • Kramer, J. (2011). Bye Bye Super 8: In Loving Memory of Kodachrome https://vimeo.com/23007405 Date Accessed: 28th of May 2020.
  • Küçükerdoğan, R. (2005). Reklam Söylemi, Istanbul: Es Yayinlari.
  • Lomography.com.tr. [9th of June 2020]. What is Lomography. https://www.lomography.com.tr/about/
  • Parikka, J. & Garnet H. (2012). “Zombie Media: Circuit Bending Media Archaeology into an Art Method.” Leonardo, 45.5, p.424-30.
  • Raynolds, S. (2011). Retromania: Pop Culture’s Addiction to Its Own Past, London: Faber and Faber.
  • Tanpınar, A. H. (2011). Beş Şehir. Istanbul: Dergah Yayinlari.
  • Van der Heijden, T. (2015). Technostalgia of the Present: From Technologies of Memory to a Memory of Technologies. European Journal of Media Studies, Vol. 4(2), p.103–121. https://pdfs.semanticscholar.org/0c64/8f950075ffb50053c3fa8c6b43ec3424a203.pdf?_ga=2.100098846.1248689118.1588252638-1348044598.1588252638 (29th of April 2020).
  • Wikipedia. [24th of May 2020]. Lomography. https://tr.wikipedia.org/wiki/Lomografi.
  • Wikipedia. [29th of May 2020]. Polaroid Camera. https://tr.wikipedia.org/wiki/Polaroid_foto%C4%9Fraf_makinas%C4%B1
  • Wiktionary. [24th of May 2020]. Technostalgia. https://en.wiktionary.org/wiki/technostalgia

Mekanik Yeniden Üretime Karşı Dijital Yeniden Üretimin Yükselişi: Fotoğrafta "Tekno-Nostalji"

Year 2024, Volume: 10 Issue: 2, 139 - 151, 30.12.2024
https://doi.org/10.46641/medeniyetsanat.1571682

Abstract

Günümüz dijital teknolojisinde yaşanan gelişmeler sonucunda, günlük yaşamı kolaylaştıran yeni araçların yanı sıra sanatta da kullanılan üretim araçları çeşitlenmekte ve gelişmektedir. Teknolojinin sunduğu yenilikler, özellikle sanatçılar için geniş bir yelpazede yaratıcı imkânlar sunmaktadır. Ancak, 1990'lı yıllardan bu yana hem günlük yaşamda hem de sanatta geçmişe yönelik bir geri dönüş ve öykünme eğilimi dikkat çekmektedir. Tüm teknolojik gelişmeler ve dijitalleşmeye rağmen geçmişe dönüş paradoksunun fotoğraf sanatı üzerinden açıklanmaya çalışılması bu araştırmanın ana konusunu oluşturmaktadır. Bu çalışmada bugünün gerçeklerine ve teknolojisine sırt çevrilip geçmişe öykünmenin nedenleri “tekno-nostalji (tech-nostalgia)” kavramı çerçevesinde analiz edilmektedir. “Tekno-nostalji (tech-nostalgia)” kavramının fotoğraf sanatındaki somut örnekleri olarak lomografi fotoğraf akımı ve Polaroid üretimleri detaylı bir şekilde incelenmiştir. Günümüz teknolojisi ile ulaşılan yüksek çözünürlüklü görüntü kalitesi ve görüntü üretim sürecindeki kolaylıklara rağmen, analog fotoğrafçılıkta gözlemlenen artışın nedenleri ele alınmıştır. Bu artışın, sanatın ve fotoğraf estetiğinin doğası içinde nasıl şekillendiği araştırılmış ve bu eğilim, psikolojik ve sosyolojik perspektifler üzerinden örneklerle açıklanmaya çalışılmıştır.

References

  • Barthes, R. (2000). Camera Lucida: Reflections on Photography. Istanbul: Altikirkbes Yayinlari.
  • Benjamin, W. (2002). Arcades Project. Istanbul: YKY.
  • Buse, P. (2010). The Polaroid Image as Photo-object, Journal of Visual Culture, Vol. 9(2), p.189-207. http://www.sagepub.co.uk/journalspermissions.nav (4th of April 2020).
  • Buse, P. (2010). Polaroid After Digital: Technology, Cultural Form, and the Social Practices of Snapshot Photography, Continuum: Journal of Media and Cultural Studies, Vol.24(2), p.215-30. http://usir.salford.ac.uk/id/eprint/18795/3/Continuum.pdf (4th of April 2020).
  • Campopiano, J. (2014). ‘Memory, Temporality, & Manifestations of Our Tech-Nostalgia, Preservation, Digital Technology & Culture, Vol. 43, No. 3, p.75-85. https://www.degruyter.com/view/journals/pdtc/43/3/article-p75.xml (20th of May 2020).
  • Caoduro, E. (2014). Photo Filter Apps: Understanding Analogue Nostalgia in the New Media Ecology. MeCCSA, Vol.7 (2), p.67-82. http://ojs.meccsa.org.uk/index.php/netknow/article/view/338 (30th of April 2020).
  • Duygun, U. (1998). Fotoğraf Akımları. Unpublished article.
  • Freud, S. (1957). On Narcissism. In The Standard Edition of The Complete Works of Sigmund Freud, Volume 14. Hogarth Press, 67–104.
  • Groys, B. (2017). Akista Internet Caginda Sanat. Istanbul: Koc University Press.
  • Harvey, D. (2006). Postmodernligin Durumu. Istanbul: Metis Yayinlari.
  • Jameson, F. (1985). Postmodernism and Consumer Society. In Postmodern Culture. Hal Foster (der.) içinde. London: Pluto Press. 111-125.
  • Jurgenson, N. (2011). ‘The Faux-Vintage Photo’, Cyborgology, http://thesocietypages.org/cyborgology/2011/05/14/the-faux-vintage-photo-full-essay-parts-i-ii-and-iii/ (30th April 2020).
  • Kramer, J. (2011). Bye Bye Super 8: In Loving Memory of Kodachrome https://vimeo.com/23007405 Date Accessed: 28th of May 2020.
  • Küçükerdoğan, R. (2005). Reklam Söylemi, Istanbul: Es Yayinlari.
  • Lomography.com.tr. [9th of June 2020]. What is Lomography. https://www.lomography.com.tr/about/
  • Parikka, J. & Garnet H. (2012). “Zombie Media: Circuit Bending Media Archaeology into an Art Method.” Leonardo, 45.5, p.424-30.
  • Raynolds, S. (2011). Retromania: Pop Culture’s Addiction to Its Own Past, London: Faber and Faber.
  • Tanpınar, A. H. (2011). Beş Şehir. Istanbul: Dergah Yayinlari.
  • Van der Heijden, T. (2015). Technostalgia of the Present: From Technologies of Memory to a Memory of Technologies. European Journal of Media Studies, Vol. 4(2), p.103–121. https://pdfs.semanticscholar.org/0c64/8f950075ffb50053c3fa8c6b43ec3424a203.pdf?_ga=2.100098846.1248689118.1588252638-1348044598.1588252638 (29th of April 2020).
  • Wikipedia. [24th of May 2020]. Lomography. https://tr.wikipedia.org/wiki/Lomografi.
  • Wikipedia. [29th of May 2020]. Polaroid Camera. https://tr.wikipedia.org/wiki/Polaroid_foto%C4%9Fraf_makinas%C4%B1
  • Wiktionary. [24th of May 2020]. Technostalgia. https://en.wiktionary.org/wiki/technostalgia
There are 22 citations in total.

Details

Primary Language English
Subjects Photography
Journal Section Makaleler
Authors

Fulya Toy 0000-0002-9864-7480

Early Pub Date December 18, 2024
Publication Date December 30, 2024
Submission Date October 22, 2024
Acceptance Date November 4, 2024
Published in Issue Year 2024 Volume: 10 Issue: 2

Cite

APA Toy, F. (2024). The Rise of Digital Reproduction Against Mechanical Reproduction: “Tech-Nostalgia” in Photography. Medeniyet Sanat Dergisi, 10(2), 139-151. https://doi.org/10.46641/medeniyetsanat.1571682

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